Music

22nd May, New Music Friday!

Hey, we’re back. Make sure you’re following the Spotify playlist which is always updated weekly so you don’t miss out the highlights! Quarantine life be damned, we’re getting a highlight post out this week because it’s a crazy one. Last week was dominated by ‘Daisies’ really, this one is… well it’s a little spread of excellence.

LADY GAGA, ARIANA GRANDE / RAIN ON ME

It was almost inevitably going to be the big highlight of the week, with two of pops biggest artists coming together in a celebration of letting go of your sorrows and dancing the tears away. Of course, the stakes were high, but this hybrid house-pop dance banger manages to pull it off by bringing in that wistful Ariana vocal with those beloved Born This Way melodies. The result is something that feels exciting and fresh for Gaga, and seeing as the album is out in A WEEK it couldn’t have come a moment too soon.

CALL ME LOOP / STRIKE

Another heavy hitter this week in Call Me Loop, albeit on a different height of popstars like Ariana and Gaga. What we have here though is a contender for the years best of list, a ‘Runaway With Me’ style frothy pop song that feels simultaneously lightweight and melodically packed. Loop’s songwriting skills continue to be painfully underrated, something we still hope ‘React’ will help to rectify, and that’s never more obvious here than the gorgeous middle-8, a lovely intimate moment that recalls the older songs of hers. It’s no secret that there’s a huge Call Me Loop stan here, so there’s bias, but this feels like the closest she has been to breaking through with a song since ‘Give ‘N’ Take’ and ‘Love the Lie’.

ELLIE GOULDING / POWER

It’s been a weird few years for Ellie, hasn’t it? Admittedly we’ve afforded her more space than most, having opened up about the mental damage her last campaign did, but there’s been a real disconnect with her material since (most likely the labels behest). ‘Power’ is the first step to fixing that. Easily her best song in years but also, most importantly, alive with confidence and that typical Goulding heart that’s been strangely absent since ‘Figure 8’. The keen of hearing will notice the ‘Be the One’ interpolation, but the chorus is so fantastic that it really doesn’t matter after a few listens.

ALICE CHATER / TWO OF US

Alice Chater wasn’t built for indie success. In her videos, her production credits, her general appeal, it’s painfully obvious that Chater is one of the greats in waiting. Strangely that can sometimes hold one back, a cry against authenticity, and we’ve seen brief flits with apparent success yet no real fruition of it. ‘Two of Us’, with that in mind, feels like a real curtain-jerking moment of open vulnerability. Though not rocking the boat by any means, there’s something different about this release for her that feels so alive and exciting. Her delicate but gorgeous delivery takes this above and beyond, with a closer dedication to the melody and lyrical content than production, which is usually the case for Chater. It’s gorgeous, and hopefully the start of an album!

DAGNY / PARIS

What a damn week for music. In fact, there’s a potentially damning similarity between the highlights this week. All are dreamlike, whispery synth pop (which is apparently to my taste so…). Dagny is, like Call Me Loop above, a master at this. ‘Paris’ is arguably her best song yet, a real slowdown of that sugar-sweet formula of hers. The result is a gorgeous, sultry slice of pop music that relishes in her typical blueprint while showing us the other side of Dagny. There’s an EP to this too, Strangers/Lovers, which is the best of the week. If you’re looking for perfectly polished pop, there’s your bag.

Remember to keep your eyes on (!) the dedicated New Music playlist, where the highlights always continue. Every week. For you. (Apparently there’s an embedding issue so there won’t be a pretty graphic, but here’s the link)

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New Music Friday: February 13th!

AVA MAX / KINGS & QUEENS

What year is it again? RedOne alone takes me back at least ten years, but Desmond Child having a hand in this and resident classic-pop-girl Max as well? Luckily this is an absolute blast. Tinged with Abba, this is everything Ava Max should have been doing following the sudden success of ‘Sweet but Psycho’.

ELLIE GOULDING, BLACKBEAR / WORRY ABOUT ME

Ellie’s upcoming album, if it ever sees the light of day, will apparently balance the trap leaning collaborations with her authentic songwriting self by splitting the album directly in two and showcasing both. ‘Worry About Me’ is more of what you’d come to expect from Ellie and doesn’t even attempt to spin the wheel, but it’s a solid affair filled with some nice little Ellie touches (operatic cooing, the gritty THIS and THAT hidden away, cahoo-ha-hool) and a pretty great feature from blackbear.

CAMDEN COX / HEALING (REDFIELD REMIX)

‘Healing’ was already one of the best songs of the year, so I wasn’t exactly expecting a remix to have much to add. Sometimes I love being wrong. Redfield manages to keep that wistful emotion throughout but suddenly it’s instilled with such a brooding and addictive energy that I might never play the original again!

KOVEN / WORLDS COLLIDE

Well, the new Koven album is currently encapsulating my entire life. A proper collision of pop music and dance, which is one of the best couplings ever really, with an absolutely faultless opening in ‘Worlds Collide’. If you’re into this D&B meets Dubstep meets pop banger, be sure to check out the entire album asap.

FLETCHER / FOREVER

I suppose sometimes an artist not breaking through keeps them hungry for it, knowing each release is important to their entire career prospects. Fletcher still feels hungry, despite having quite a few songs under her name now. ‘Forever’ might just be her best yet – a gorgeous and intimate mid-tempo with a total sugar rush of a chorus. And the best part? She clearly has even better to come still.

Do make sure to check out the playlist, updating every Friday! There’s plenty of songs that didn’t quite make it into the highlights but might have done in any other week. At least check out that Koven album!

Music

New Music Friday: February 28th!

LADY GAGA / STUPID LOVE

What else is there to say about this totally new, never been heard before banger? Quite honestly when Gaga fires on all cylinders, there’s nothing like it. ‘Stupid Love’ might just be the best thing she’s put out since Born This Way and it marks a return to the sleeker off-kilter ARTPOP Gaga we’ve all missed since Bradley Cooper got a hold of her. Welcome back PopGa, we’ve missed you.

CHARLOTTE OC / FREEDOM

Charlotte OC was behind one of 2018’s best songs, the subtly brilliant ‘Satellite’ and then the similarly brilliant ‘Boyfriend’ and ‘Better Off On My Own’ landed in 2019 and there was momentary hope that a bloody good album was on the horizon. It never came and we’re in 2020. ‘Freedom’ is her best in a while, an instantly charming power-in-belief anthem that, as Charlotte OC songs tend to do, will worm into your brain and find a home in there. We might be burned but that hope for an album is still there.

LPX / NEW MOOD

Aggression can be so fucking cool, can’t it? LPX gets that, and ‘New Mood’ is dedicated entirely to the vibe. With abrasive guitars, Kate Nash speak-swearing, a throat-achingly screamed chorus, it’s a literal catharsis.

SONIKKU, LIZ / WKND

I haven’t been this surprised by a song in quite a while, and speechless too. ‘WKND’ manages to make me feel things that I can’t even voice so I’ll just list them; Classic. Pop. Madonna. Borderline. Britney Spears. KPop. PCMusic. Sega MegaDrive. Dreamcast. Amazing.

JOE STONE, CAMDEN COX / MIND CONTROL

Now ‘WKND’ has decimated by brain cells with its time travelling ways, ‘Mind Control’ helps cement me back in reality. And it’s a sticky dancefloor at 11PM with a Bacardi Coke in my hand. Camden Cox is one to watch if you haven’t been already because basically amazing songs seem to flock around her in the form of her own and collaborations. Gorgeous dance music made for the club and the gym floor, with vocals that keep the emotion pounding through. What’s not to like?

What were your highlights of the week?

Music

New Music Friday: 24th January!

Well, it’s one or the other this week; ballads or bops. Bangers or bores. A distinct 70-bpm difference. At what point do we think the year starts to evolve its own taste? Does it take a world-shifting popstar like Eilish, or is it a more subtle move? Well, right now it’s a depressing January and if that’s anything to go by, 2020 will be a difficult one. With that in mind, let’s crash into the good ones;

Hey, check it out. Not a complete shadow of a band coming out of nowhere to drop a Calvin Harris song that’s better than the actual Calvin Harris song that dropped this week. COY‘s ‘Promises’ is an absolute riot. Nostalgic synths, thumping bass, siren-esque female vocals, check, check, check.

Emmi Elliott certainly isn’t going to win points for artwork. One look at that and I’m expecting Irish Folk akin to Una Healy, consider my surprise when a glittery banger comes through the speakers instead. It’s basically that huge anonymous Spotify generated pop song that we all know with a fabulous chorus.

Zara Larsson just needs to get into buying these kind of bops, doesn’t she? Well, Dua Lipa started with songs as huge as this and she’s now a world conquering popstar so there’s always time for Clara. ‘Thank Me Later’ is a trip back a few years to the simpler pop of ‘Last Dance’ and ‘Teenage Dream’, and there’s always room for that.

Every now and then an artist comes along with such an individual character and so much promise that it gets so frustrating to see it not translating to mainstream success. L Devine is one of those artists. Positively brimming with potential, she already has a strong as hell discography and the imagery down too. ‘Boring People’, like ‘Peachy Keen’ before it, appears to be trying to rectify that. Palatable without sacrificing her resolve, it’s how samples are supposed to work. Shine through them!

WELL. SHE’S HERE. Arguably one of the strongest vocalists of our generation, Hayley Williams has been in the public eye for a number of years as part of Paramore. Now she’s going alone, as many have wished for a long time, and it’s not too far from what we’ve come to expect of the band. Clearly influenced by Eilish, it’s surprisingly succinct and delicate, which makes her whole solo move MORE exciting because god damn, that voice can do wonders, which peaks through for just a moment with the fabulous “Nothing cuts like a Mother.”

More, more, more below. Check them out:

Music

New Music Friday: 17th January

We’re back. The world is well rested and a whole new year of music is before us, with a few NMF’s under our belt, let me assure you that not much has been missed in the interim. If you don’t have time to check this blog out weekly, make sure to follow the dedicated Spotify playlist for weekly arrangements (Seriously I wake up at like 5AM just to update it).

THIS WEEK:

Gabrielle Aplin is back with the first properly good album of the year. Frankly her songwriting ability continues to astound me and anyone who can write a masterpiece like ‘Miss You’ deserves the world, but here we have proper good pop songs galore with off-kilter ‘Love Back’, the glimmering ‘Invisible’, the terrifyingly sad ‘Dear Happy’. It’s brilliant.

Luna Shadows has dropped the best Allie X song of the last few years. Fizzling production is the first thing you’ll notice, but its the chorus that’ll keep you there.

Rina Sawayama transcends time and space. Sometimes people are born to be popstars, you know? ‘Comme Des Garcons’ is a club-inspired bass-squirming letter to understatement. Following the brash ‘STFU!’, it’s just… keep me on my toes, Rina!

Halsey has a boring new album out that wasn’t always going to be boring but turned boring because she apparently wasn’t angry anymore. ‘Still Learning’ is really great so only continue this sentence if you’ve already listened to it once………………. Okay, so Ed Sheeran wrote this. He’s all over it, and it kind of ruins it, doesn’t it?

Ella Eyre can’t come to the phone right now, why? Because she’s DEAD.

Hayley Kiyoko rounds off her brilliant E.P/Project with the delightfully weird ‘she’. The verses are better than the chorus but they’re really good. So is the bridge.

Tove Lo‘s ‘Bikini Porn’ is the kind of song only she could release, and she’s recruited Finneas (of Billie Eilish family fame) to help. Unfortunately it’s not very good, but maybe it’s a huge grower? Admittedly ‘Disco Tits’ was exactly that.

Lauv is really good but trying to write about his new song is proving to be pre zzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzz

Music

November 29th, NMF!

Compared to recent weeks, we have a weaker effort to sift through this time. Luckily there are a few gems in the rough for our highlights as we head towards the close of the year. Check them out:

ASHS / PARANOID

You may already know ASHS as Alyssa Reid, having had brief success in 2011 with ‘Alone Again’. Initially intended to be somewhat of a side project, Alyssa has decided to put ASHS at the forefront and… well, it’s a good job because quite honestly the songs are brilliant. ‘Paranoid’ is a breath of fresh air, it’s Terror Jr meets So Below with a more grounded touch, an absolutely infectious epic. At the heart of it is a stunning R&B ballad with an equally gorgeous melody, but its the production that builds on that created world. An absolute win from every angle.

CAPULETS / SWEET ENOUGH

It’s going to take a lot to rebuild Xenomania’s lost legacy, and unfortunately their excessive pop touch hasn’t been quite the same since the era of Girls Aloud, but every now and then there’s another snap of genius. ‘Sweet Enough’ is brilliant because it actually focuses in their typically sporadic style, culminating in a classic Eurythmics styled epic dragged into the 21st century. There’s still a lot of air in the system, and it’s crying out for a fuller vocal, but the production deserves the commendation because we need more of this Xenomania.

DEVON BALDWIN / FIRE

Devon should already be on your radar, especially considering I push her at every opportunity. Already delivering an EP worth of masterfully produced mid-tempos in 2019, ‘Fire’ picks up where she left off in a much warmer capacity. Her icy production and ethereal vocal is trademark at this point, and in that regard ‘Fire’ delivers everything you need from a Devon song; atmospheric production that only amplifies the breathtaking delivery in front of it.

MALOU PRYTZ / IF IT AIN’T LOVE

Taking inspiration from The Saturdays, this time with correct grammar, Malou provides the bubblegum you need to get you through the week. Though the delivery gives you a sharpness the likes of Carly Rae usually trade for a genre-trade wisp, the production is exactly as bouncy as you need it to be. Designed to be cranked out of the car window, this is a welcome splash of sugar in a pretty sour week.

PETE TONG, HER-O, ZARA LARSSON / WITH EVERY HEARTBEAT

Well, would you look at this. A cover of one of the greatest songs of all time is a highlight of the week, but just as much for its own reasons. Zara Larsson fits the role of Robyn to a T, delivering a heartbreakingly good vocal, and there’s even a full orchestra version on the album too. This is a song that never ages, never tires and ultimately anyone could toy with and still have a great result, but there really is something to be said about how much emotion this still manages to translate and pull through. Now I’m craving a remix with Zara leading!

We’ve uncovered a massive 28 highlights this week, which can all be found below in our Eyes On NMF Playlist, so do check it out for any that you might have missed and give it a follow. That way you’ll never miss a great song!

Music

15th November, NMF!

What a stellar week. Something about the cold of winter imbues the subtlest of melodies with melancholy, and I’m here for it. BUT don’t fear, there’s also a few classic bops here to keep you warm too.

BILLIE EILISH / EVERYTHING I WANTED

You would be forgiven for assuming this is going to be more of what took Billie to the top, namely the bravado filled stomper that is ‘Bad Guy’, but you’ll be taken aback when you see it’s much more akin to her delicately devastating moments like ‘Lovely’ and ‘I Love You’. There’s a deep melancholy to the delivery and lyricism, admitting dreaming about her own suicide, even with the uplifting chorus. It’s a masterclass in less-is-more with captivating flourishes in the production, underlining what is a gorgeous ballad with a proper beating heart. Lovely.

LIZ / INTUITION

I’m almost aghast at just how much influence Liz is prepared to instill through her recent output, each one sounding further placed in time than the last, and ‘Intuition’ is just… well, it’s spellbinding. Quite honestly I’m prepared for her to not receive the acclaim she deserves but for this sound to slowly creep its way into the mainstream anyway. Ride that wave, Liz. We’ll remember you at the fore-front with Rina.

HAYLEY KIYOKO / L.O.V.E. ME

Another song that relishes in a classic sound this week is the toe-tapping ‘L.O.V.E Me’, sounding like a lost boy-band classic number one. It’s easily one of Kiyoko’s best efforts yet and also probably her most immediate, packed full of incredible hooks that, I’m hoping, will draw in listeners from everywhere and every age. It’s the kind of song you can imagine Little Mix snapping up with a heartbeat, but Kiyoko is center stage and imbuing it with everything it needs.

GRIFF / SOUND OF YOUR VOICE

Who knew one of the best songs of the week would invoke such strong memories of Super Mario in me? It’s those delicious little vocal snippets, the production sounded like some sort of Gameboy Advance jingle. It’s addictive enough as it is, then you’ve got such a great vocal delivery and one of the best choruses of the year so far. By the end of the three minutes I’m practically bouncing on the ball of my feet like Mario bopping his head into a question block.

ELLEY DUHE / GOOD DIE YOUNG

Elley Duhe has been my one to watch for a while, and I’m a total sucker for any moody and brooding bass-synth driven mid-tempo as it is, so how lucky am I that Elley has produced something that practically perfects that? Nobody quite sings like Elley, some gorgeous blend of Ellie Goulding and Sia, and she uses it to great effect with haunting belts and ad-libs. It also helps that this reminds me of So Below’s recent output, perfect for the dark and rainy nights, and I’m already making another playlist just for that now.